- “In ‘The Anatomy of Criticism,’ the formalist literary theorist Northrop Frye (1957) presented certain universal genres and modes as the key to organizing the entire literary corpus.” However, the problem with such a rigid classification scheme is that genres never actually rest comfortably, with a clear definition or set of characteristics. Thus, upon exploring the definition of a genre, a reader may nevertheless find uncharacteristic aspects to representative members, aspects that may suggest another genre entirely.
- With this being said, this essay does not attempt to absolutely define the genre that is young adult drama. Rather, it explores a set of patterns that seem apparent throughout a (limited) collection of contemporary comedic one-acts for young adults found in two separate anthologies written in the early 1980s. Specifically, this essay will look at the family structure and relationship between parent and young adult figures throughout these plays, and perhaps unexpectedly, how this relationship is not young adult-centric, unlike other young adult genres
- “ […] one of the reasons that there aren’t many plays written for teenagers is that they aren’t the ones buying tickets to Broadway plays or flying to London on theater tours; hence, playwrights are not motivated to write for teenagers.” However, as stated previously, contemporary popular culture has placed a greater emphasis on teens, sometimes even placing them at the center of a dramatic tale. This has certainly been the case with television and movies in recent years, as highly rated television series like Glee and box office sensations like The Twilight Saga continue to appeal to broad audiences. It is therefore not implausible to suggest that youth-centric entertainment is slowly transitioning towards the stage.
- “Adult humor is increasingly a part of their [young adults’] repertoire, partly because they are anxious to appear sophisticated, and partly because they are growing up.” In fact, in an educational setting, young adult humor can sometimes work well when bridging the gap between adults and teenagers. As Donelson and Nilsen further explain, “Despite what must seem like an obvious truth to good teachers and librarians, a sense of humor is essential for the survival of educators and students. But, some deadly serious people wonder if this is the time for levity. The answer is, of course, yes this is the time. Many young people may be surprised to find that they laugh at the same things their parents and grandparents laughed at.”
- In these plays, neither the adult nor the young adult can grow or solve his or her problems in isolation. Rather, it is in their relationship with one another that they solve each other’s problems and come to a better understanding of themselves. This is significant because in recent years, technological and cultural changes have made the generational divide as wide as it has ever been before. Now more than ever, our modern world offers young people the coveted ability to distance themselves from their parents and create an identity all their own.